The sublime concert of Shri Ravi Kiran and his team enabled one to touch the horizon of divine ecstasy. After listening to the fulfilling concert, it was the turn of the newly promoted Smt Gayatri Venkataraghavan to try to keep our mood intact.
She began well. However, she could not rise up to the occasion as desired. The Mukari was very ordinary. She tended to shout to generate bhavam while going to sleep on a single note and sthana shuddam was also a casualty. Khamboji was an essay neither in bhava nor showed consistency in the use of the techniques. The RTP was hurriedly squeezed. Subbulakshmi’s rendition of Mukari and Khamboji was sublime. She deserves to be where she is today. The soul of Ganapathiraman’s mrdangam stirred our hearts. Being a worthy son of Shri Satalapathi Balasubramanian, the nada sowkyam was immersed in bhava. One must hear his father’s vocal music soaked in bhava which has been imbibed by Ganapathi. Unfortunately, lack of aggressive marketing as done by today’s youngsters, not much of his father’s music has been recorded. Being modest which used to be the quality of musicians of yesteryears is anathema to power positioning which alone earns a person the highest sangeetha platform or award. Coming back to the concert, Guruprasad was as competent as ever. The saving grace of the concert was the effort of the other team members. Positioning oneself before or after great artists in the ticket slot has its own advantages and disadvantages. It would not matter if one positions oneself before very popular artists in the 12-45 or 2-30 slots with the help of the organizers. One can get good crowd and easily move over to the next slot. Although successful so far, this became a case of too far too soon.
Gayatri Venkataraghavan's concert at the Music Academy
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saveri
- Posts: 91
- Joined: 18 Feb 2007, 11:46
Gayatri showe great control over her voice, stron g sruti alignment and a good range.
But however all this did not aid her in the process, as she sounded, as she always does very reharsed !!
No spontaneity ! very well ironed out, pre calculated and always nervous of a quick turn.
Her raga essays had all the ingrediens, but the dish was nothing to remember.
Also her patantara is quaky especiall noticed in Evari Mata. However her neraval was good and she spent a lot of time on it, thus upsetting her time. Time management ,one has to learn to aquire professionalism.
Artificial bhava replaced with true spirit alone can make a wonderful singer.
But however all this did not aid her in the process, as she sounded, as she always does very reharsed !!
No spontaneity ! very well ironed out, pre calculated and always nervous of a quick turn.
Her raga essays had all the ingrediens, but the dish was nothing to remember.
Also her patantara is quaky especiall noticed in Evari Mata. However her neraval was good and she spent a lot of time on it, thus upsetting her time. Time management ,one has to learn to aquire professionalism.
Artificial bhava replaced with true spirit alone can make a wonderful singer.
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mahesh3
- Posts: 584
- Joined: 06 Feb 2010, 21:32
Artificial bhava? At a time where Aruna Sairam, Sudha and Nityashri are touching new lows, this is a touch harsh, dont u think! That there is a space for artists of the calibre such as GV, Rama Ravi, Panthula Rama and K Gayathri has been a breath of fresh air this year...in my opinion.
Gayathri is definitely talented among the up-and-coming artists...and to my mind, her concerts are very sincere in their demonstration and choice of krithis. I had been to her concert in Pennsylvania recently, and she was anything but rehearsed. She sang Kalyani, Reethigowlai, Gowrimanohari and thodi that day....In this concert , my cousin (one of the most knowledgeable carnatic music rasikas that I know in real life) felt that she sang an absolutely wonderful Kambodhi....
Leaving out Smt Gayathri's individual case, in general, it is better to be prepared and well-ironed out especially in the academy for an up-and-coming artist I feel. And, as for looking prepared and lacking sponteneity, there are a great many artists who could be accused of this...not everybody can sing an Abhogi, Jyotiswarupini and a Yadukulakambodhi alapana in a row...or a Mukhari, Kharaharapriya and varali for that matter like in SSI's airport concert...it takes many years of sadhana and know-how to pull off something like that...and knowing how it will likely pan out, neither should all artists attempt something like this early in their career!
Gayathri is definitely talented among the up-and-coming artists...and to my mind, her concerts are very sincere in their demonstration and choice of krithis. I had been to her concert in Pennsylvania recently, and she was anything but rehearsed. She sang Kalyani, Reethigowlai, Gowrimanohari and thodi that day....In this concert , my cousin (one of the most knowledgeable carnatic music rasikas that I know in real life) felt that she sang an absolutely wonderful Kambodhi....
Leaving out Smt Gayathri's individual case, in general, it is better to be prepared and well-ironed out especially in the academy for an up-and-coming artist I feel. And, as for looking prepared and lacking sponteneity, there are a great many artists who could be accused of this...not everybody can sing an Abhogi, Jyotiswarupini and a Yadukulakambodhi alapana in a row...or a Mukhari, Kharaharapriya and varali for that matter like in SSI's airport concert...it takes many years of sadhana and know-how to pull off something like that...and knowing how it will likely pan out, neither should all artists attempt something like this early in their career!
Last edited by mahesh3 on 19 Dec 2007, 00:58, edited 1 time in total.
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mahavishnu
- Posts: 3341
- Joined: 02 Feb 2010, 21:56
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manoranjitham
- Posts: 38
- Joined: 16 Dec 2006, 22:30
I had been to the concert and am unble to agree with the remarks of either rasamrudam or saveri.
I would refer members to the extensive review by Smt Gauri Ramnarayan, one of the most knowledgeable and least biased among the reviewers today. (The Hindu , Tuesday 18 Dec. Though some insufficiencies have been mentioned, Fulsome praise has been made of the music offered by Smt. Gayathri Venkataraghavan.
I would refer members to the extensive review by Smt Gauri Ramnarayan, one of the most knowledgeable and least biased among the reviewers today. (The Hindu , Tuesday 18 Dec. Though some insufficiencies have been mentioned, Fulsome praise has been made of the music offered by Smt. Gayathri Venkataraghavan.
Last edited by manoranjitham on 19 Dec 2007, 04:58, edited 1 time in total.
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harimau
- Posts: 1819
- Joined: 06 Feb 2007, 21:43
If anybody complains about lack of sruthi alignment, that can be easily verified. After all, Rajalakshmi audio will be releasing CDs of Music Academy concerts and we can run it through audio processing software to identify the frequency, particularly during the periods when a note is held for a couple of seconds.
Same thing goes for complaints about 'ottam' in T M Krishna's swara exercises. Please provide me with a copy of the concert in question and I shall happily analyze it using Audacity, Sonic Foundry, WaveLab, etc., and post the results here.
Just as psycho-acoustic studies are demonstrating that 22 sruthis may be a figment of the imagination, we may discover the truth about various artists' sruthi shuddham or laya shuddham. Or we may find that we ourselves are unable to hear the music correctly.
As to time management, one wonders how anybody can expect the vocalist to control a runaway tani avarthanam. The tani went on and on and lasted 16 minutes. One has to look at a seasoned performer like Vellore Sri Ramabhadran whose tani (at Nada Inbam for a recent concert) was so short that the vocalist (R Vedavalli in this case) asked, "Is that all?" When Sri Ramabhadran replied that it was enough, she further added, "Enna a-nyayam!"
For Smt Gayathri Venkataraghan's Kambhodhi alapana of 13 minutes, Akkarai Subbulakshmi's response lasted 11 minutes! Accompanying artists should ask themselves what their responsibilities are. It is to uplift the entire concert, not to showboat their capabilities. If Kumari Subblakshmi had kept her alapana to a more reasonable 7 or 8 minutes, and if the tani had been limited to 9 minutes, the vocalist would have gained an additional 10+ minutes. Same could be said about the violin alapana during Simhendramadhyamam. With proper proportions of the accompanists' responses, the main artist would have had easily an additional 15 minutes and would have been able to complete the program as printed in the Souvenir.
When the accompanists do not recognize that they were chosen by the vocalist -- who does have several choices for violin, mridangam and ghatam/khanjira -- and start stealing the thunder and that too on the occasion of her debut at the senior slot at the Academy, one is merely reminded of the expression "With friends like these, who needs enemies?"
Finally, the comments of rasamrudam "It would not matter if one positions oneself before very popular artists in the 12-45 or 2-30 slots with the help of the organizers. One can get good crowd and easily move over to the next slot. Although successful so far, this became a case of too far too soon" is totally uncalled for. Does rasamrudam have any evidence that any artist is in a position to influence his or her slot at the Academy or any other sabha? The ideal position would have been the 4:15 pm slot before Aruna Sairam, Sudha Raghunathan, Nithyashri Mahadevan, or Unnikrishnan. After all, there would have been no exodus as happens (and indeed, did happen) at 8 pm for dinner or at 9 pm to catch the bus. Performing after Ravikiran does not guarantee that the audience will stay.
If rasamrudam is unwilling/unable to substantiate his charge about artists influencing the organizers, the least he could do is change his handle to rasa-pashanam.
Same thing goes for complaints about 'ottam' in T M Krishna's swara exercises. Please provide me with a copy of the concert in question and I shall happily analyze it using Audacity, Sonic Foundry, WaveLab, etc., and post the results here.
Just as psycho-acoustic studies are demonstrating that 22 sruthis may be a figment of the imagination, we may discover the truth about various artists' sruthi shuddham or laya shuddham. Or we may find that we ourselves are unable to hear the music correctly.
As to time management, one wonders how anybody can expect the vocalist to control a runaway tani avarthanam. The tani went on and on and lasted 16 minutes. One has to look at a seasoned performer like Vellore Sri Ramabhadran whose tani (at Nada Inbam for a recent concert) was so short that the vocalist (R Vedavalli in this case) asked, "Is that all?" When Sri Ramabhadran replied that it was enough, she further added, "Enna a-nyayam!"
For Smt Gayathri Venkataraghan's Kambhodhi alapana of 13 minutes, Akkarai Subbulakshmi's response lasted 11 minutes! Accompanying artists should ask themselves what their responsibilities are. It is to uplift the entire concert, not to showboat their capabilities. If Kumari Subblakshmi had kept her alapana to a more reasonable 7 or 8 minutes, and if the tani had been limited to 9 minutes, the vocalist would have gained an additional 10+ minutes. Same could be said about the violin alapana during Simhendramadhyamam. With proper proportions of the accompanists' responses, the main artist would have had easily an additional 15 minutes and would have been able to complete the program as printed in the Souvenir.
When the accompanists do not recognize that they were chosen by the vocalist -- who does have several choices for violin, mridangam and ghatam/khanjira -- and start stealing the thunder and that too on the occasion of her debut at the senior slot at the Academy, one is merely reminded of the expression "With friends like these, who needs enemies?"
Finally, the comments of rasamrudam "It would not matter if one positions oneself before very popular artists in the 12-45 or 2-30 slots with the help of the organizers. One can get good crowd and easily move over to the next slot. Although successful so far, this became a case of too far too soon" is totally uncalled for. Does rasamrudam have any evidence that any artist is in a position to influence his or her slot at the Academy or any other sabha? The ideal position would have been the 4:15 pm slot before Aruna Sairam, Sudha Raghunathan, Nithyashri Mahadevan, or Unnikrishnan. After all, there would have been no exodus as happens (and indeed, did happen) at 8 pm for dinner or at 9 pm to catch the bus. Performing after Ravikiran does not guarantee that the audience will stay.
If rasamrudam is unwilling/unable to substantiate his charge about artists influencing the organizers, the least he could do is change his handle to rasa-pashanam.
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grsastrigal
- Posts: 884
- Joined: 27 Dec 2006, 10:52
Team work is important in a concert. If violin takes more time or Thani-should have been discussed before entering in to the hall. There is no ifs/buts. Akkarai S is also a matured violinist. She also wanted to show her talent in front of the crowd and Mridangam does in Thani. This is to be discussed among the Team..
Second GV's concert was reviewed in Indian Express today as "Ok". The Pallavi was shortened and time Management went for a toss"
Review of Rasamrudham is his opinion. No need to get disturbed, if one likes the cocnert.
In Today's Hindu review- Neyveli S and Bombay Jayshree's performance were reviewed as "below par". In fact BJ's performance was termed as "weighless" and NS review (MA) is "not good" without Main Raga...
About the slot- I agree with Rasamurham-questioning the "selection process".
For example- Ms.Subhashree Ramachandran-(daughter of Trichur and Charumathi) gave a lacklustre performance in MA, the first concert of Day 1 (before Sattur S)-Hindu reports. Akkarai Swarnatatha-violin is also bad. I wonder-who gave her the slot ? How many concerts she performed ? before entering MA ?
MA is the place where stalwarts have decorated with their Vintage perfomance. Whether is sub-junior slot or Senior most slot... Deserve some degree of test/experience .....Any one listening ?
Second GV's concert was reviewed in Indian Express today as "Ok". The Pallavi was shortened and time Management went for a toss"
Review of Rasamrudham is his opinion. No need to get disturbed, if one likes the cocnert.
In Today's Hindu review- Neyveli S and Bombay Jayshree's performance were reviewed as "below par". In fact BJ's performance was termed as "weighless" and NS review (MA) is "not good" without Main Raga...
About the slot- I agree with Rasamurham-questioning the "selection process".
For example- Ms.Subhashree Ramachandran-(daughter of Trichur and Charumathi) gave a lacklustre performance in MA, the first concert of Day 1 (before Sattur S)-Hindu reports. Akkarai Swarnatatha-violin is also bad. I wonder-who gave her the slot ? How many concerts she performed ? before entering MA ?
MA is the place where stalwarts have decorated with their Vintage perfomance. Whether is sub-junior slot or Senior most slot... Deserve some degree of test/experience .....Any one listening ?
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vasanthakokilam
- Posts: 10958
- Joined: 03 Feb 2010, 00:01
rasamrudam, grsastrigal: I fully realize we are all amateur reviewers and so we do not have to necessarily follow any journalistic standards ( if that is indeed considered relevant ). But all of us have to keep an eye towards anyone who has a problem with an artist ( due to whatever reason, musical or outside of it ) post some intentionally bad reviews. Let me hurry to say that neither one of you is perceived that way.
And another priniciple you all would have observed is, in this forum, the 'cred' matters a lot on how members' reviews are preceived and reacted to. And it takes active participation in the forum to establish that over time.
Having said all that, my only minor issue with rasamrudam's review is, for being such a negative review, it could have provided more information for us to chew on. It was all very general and also majority of the post was spent on talking about the accompaniments and wondering why they do not get better slots etc.
And another priniciple you all would have observed is, in this forum, the 'cred' matters a lot on how members' reviews are preceived and reacted to. And it takes active participation in the forum to establish that over time.
Having said all that, my only minor issue with rasamrudam's review is, for being such a negative review, it could have provided more information for us to chew on. It was all very general and also majority of the post was spent on talking about the accompaniments and wondering why they do not get better slots etc.
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saveri
- Posts: 91
- Joined: 18 Feb 2007, 11:46
Lets not club all under the amateur category ! There are many people in this forum whoare performers and also long time listeners .
Also a review is one's perception of that days presentation by the artist.
It is not the be all and end of all of an artist. Nobody condemns an artist or speaks ill about them.
One notices an artist over a period of time and makes a calculated inference of his or her progress and evaluates it.
Even in Smt.Gowri Ramnarayan's review, if you remember, she has mentioned that Kamboji , had all the phrases, but the overall impact was missing.
Rasikas are free to gather their own impressions and there will be as many as there are.
GV is however on a strong wicket, that she has so many in defence of her !
Also a review is one's perception of that days presentation by the artist.
It is not the be all and end of all of an artist. Nobody condemns an artist or speaks ill about them.
One notices an artist over a period of time and makes a calculated inference of his or her progress and evaluates it.
Even in Smt.Gowri Ramnarayan's review, if you remember, she has mentioned that Kamboji , had all the phrases, but the overall impact was missing.
Rasikas are free to gather their own impressions and there will be as many as there are.
GV is however on a strong wicket, that she has so many in defence of her !
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rangahome
- Posts: 29
- Joined: 13 Feb 2007, 07:01
Observation -- I am intrigued by "thideer" rasika-reviewers (TRRs) who just register in the forum (eg: check rasamudram's registration date on this site!) and rush to post an "unbiased" review! So much so about their intent, credibility and endorsements. Peace!
Last edited by rangahome on 19 Dec 2007, 23:23, edited 1 time in total.
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Sathej
- Posts: 586
- Joined: 03 Feb 2010, 00:23
Even the other person seems to have registered atleast a few days prior to the date of the concert in question and has posted on other concert threads as well. So maybe its unfair to question authenticity of new members who join. After all, it is the season time. Sorry to the moderators for deviating off the intended topic of the thread, but just making some observations.
Sathej
Sathej
Last edited by Sathej on 19 Dec 2007, 23:32, edited 1 time in total.
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saveri
- Posts: 91
- Joined: 18 Feb 2007, 11:46
Dear Sathej, Thanks for the fair defence.
It is however very insulting and petty to hear reference of TRRs in this forum an I do take serious objections.
As for the registeration date, iI am not far away from Rangahome - RH to pls check his own regn date.
Also if the regn date was the criteria to make our expressions felt as rasikas on this forum, then i think, something is seriously wrong with the foum.
Rasikatvam, I guess starts from the date we began listening, and to some singing , serious music.
If the qualification for being a reviewer on this forum is regn date, then this too i am afraid will become a small coterie of MAS (Mutual Admiration Society), with no openness whatsoever.
It is however very insulting and petty to hear reference of TRRs in this forum an I do take serious objections.
As for the registeration date, iI am not far away from Rangahome - RH to pls check his own regn date.
Also if the regn date was the criteria to make our expressions felt as rasikas on this forum, then i think, something is seriously wrong with the foum.
Rasikatvam, I guess starts from the date we began listening, and to some singing , serious music.
If the qualification for being a reviewer on this forum is regn date, then this too i am afraid will become a small coterie of MAS (Mutual Admiration Society), with no openness whatsoever.
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Vocalist
- Posts: 1030
- Joined: 19 Feb 2006, 18:53
just as Gayathri's 'artificial bhava' is another's opinion...your point being? :rolleyes: Gayathri's Mukhari has a reputation for being poor (for those who have had the misfortune of hearing it). I find it ironic that you sling mud at (arguably) the 3 most popular female CM singers of today, when they've sung effective Mukharis on more than a few occasions, whether it be on Jaya TV 2004, or in a recent album produced by Rajalakshmi Audio.mahesh3 wrote:Artificial bhava? At a time where Aruna Sairam, Sudha and Nityashri are touching new lows, this is a touch harsh, dont u think! That there is a space for artists of the calibre such as GV, Rama Ravi, Panthula Rama and K Gayathri has been a breath of fresh air this year...in my opinion.
and...reviewers accuse such artists whenever they seem that way...so what's your point? Are you reviewing the review? :rolleyes:mahesh3 wrote:And, as for looking prepared and lacking sponteneity, there are a great many artists who could be accused of this...
Well, clearly, Akkarai Subbulakshmi's response was well received by rasikas in this concert (although, one can never be sure how many). From the review, it appears that the violinist did uplift the concert from the 'low' that it was at. I fully agree that each alapana has to be proportionate, but as is often noted, it also depends on if you prefer quantity or quality...personally, I'm inclined to go with the latter, even if it's at a small expense of the other.harimau wrote:For Smt Gayathri Venkataraghan's Kambhodhi alapana of 13 minutes, Akkarai Subbulakshmi's response lasted 11 minutes! Accompanying artists should ask themselves what their responsibilities are. It is to uplift the entire concert, not to showboat their capabilities. If Kumari Subblakshmi had kept her alapana to a more reasonable 7 or 8 minutes, and if the tani had been limited to 9 minutes, the vocalist would have gained an additional 10+ minutes. Same could be said about the violin alapana during Simhendramadhyamam. With proper proportions of the accompanists' responses, the main artist would have had easily an additional 15 minutes and would have been able to complete the program as printed in the Souvenir.
When the accompanists do not recognize that they were chosen by the vocalist -- who does have several choices for violin, mridangam and ghatam/khanjira -- and start stealing the thunder and that too on the occasion of her debut at the senior slot at the Academy, one is merely reminded of the expression "With friends like these, who needs enemies?"
.
There are more reviews of this kind, than those that specify every little detail. Naturally, a review that gave more of the tiny technical details may make it easier for a reader to understand why a person has the opinion. But, then again, sometimes no words can describe what has been heard by that rasika, in which case you would need to hear it yourself, or let it go....vasanthakokilam wrote:It was all very general
Every so often, the regulars of forums like this, need to be reminded of this...thankssaveri wrote:Lets not club all under the amateur category ! There are many people in this forum whoare performers and also long time listeners . Also a review is one's perception of that days presentation by the artist. It is not the be all and end of all of an artist. Nobody condemns an artist or speaks ill about them. One notices an artist over a period of time and makes a calculated inference of his or her progress and evaluates it. Rasikas are free to gather their own impressions and there will be as many as there are..
Well well well...you haven't registered that long ago...how unusual to question your own!rangahome wrote:So much so about their intent, credibility and endorsements.
As you will find, there are some people in forums such as these who make it a habit of finding ways of insulting and annoying others when they have views that disagree with their own. If anything, it just shows how narrow-minded they are, though, unfortunately, it is possible that you are right in your final para....saveri wrote:Also if the regn date was the criteria to make our expressions felt as rasikas on this forum, then i think, something is seriously wrong with the foum.
That's too badgrsastrigal wrote:For example- Ms.Subhashree Ramachandran-(daughter of Trichur and Charumathi) gave a lacklustre performance in MA, the first concert of Day 1 (before Sattur S)-Hindu reports.
she shows a lot of promise usually.... Must've been a bad day for her.-
vasanthakokilam
- Posts: 10958
- Joined: 03 Feb 2010, 00:01
Let me just take this opportunity to state this just in case there is a small chance my earlier posting is misinterpreted ( especially my use of the word 'cred', I meant it as in forum cred as opposed to credentials as in knowledge about music ). There is no such qualification that is required or imposed by the forum. As you have seen, anyone can post a review. We have ways of assessing if a rasika reviewer is bent on slamming a particular artist unfairly. But it is quite lenient, so one has to be very obnoxious for any interference by the mods/admins.saveri wrote:If the qualification for being a reviewer on this forum is regn date, then this too i am afraid will become a small coterie of MAS (Mutual Admiration Society), with no openness whatsoever.
Happy reviewing!!
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rasamrudam
- Posts: 5
- Joined: 11 Dec 2007, 12:32
The review was just a review of the particular day’s concert and no more significance need be attached with regard to the intentions as feared by some. Thanks to Saveri, Sathej and grshastrigal for putting things in the right perspective. Rasika.org is a fairly new forum where a review has been posted. However, this rasika has been attending all sorts of concerts, seminars on all matters relating to fine arts, particularly music and has been writing letters of appreciation to individuals and organisations and contributing to the print media, irrespective of whether they were published or not, for the past 25 years if that can be counted as having enough credentials.
Whatever be the use of technology, trained ears can find out blips while listening to live concerts. Well these are the days of the third umpire and like cricket; music is also a high profile subject as can be seen from the various threads in Rasikas’ forum. Thus there is no harm in using technology for reviewing concerts. It’s a good suggestion but the charm may be lost in the milieu.
As regards the probability of taking the help of organizers, I request that the same technology be used to find it out. There are software helps in linear programming. All we have to do is that put up the concert schedules of all the music organisations, say, for the past 20 years or more on a matrix. There might be some cancellations because now a days December concerts are fixed as early as February itself in some organisations for reasons best known to them. This may be discounted because substitutes are only a stop-gap arrangement the original intention being giving opportunities to the artists who cancel their concerts. It cannot be denied that every artist on stage is talented and stage worthy which is true. So the Hypothesis is “ let’s assume ceteris paribus about the quality of the artistsâ€
Whatever be the use of technology, trained ears can find out blips while listening to live concerts. Well these are the days of the third umpire and like cricket; music is also a high profile subject as can be seen from the various threads in Rasikas’ forum. Thus there is no harm in using technology for reviewing concerts. It’s a good suggestion but the charm may be lost in the milieu.
As regards the probability of taking the help of organizers, I request that the same technology be used to find it out. There are software helps in linear programming. All we have to do is that put up the concert schedules of all the music organisations, say, for the past 20 years or more on a matrix. There might be some cancellations because now a days December concerts are fixed as early as February itself in some organisations for reasons best known to them. This may be discounted because substitutes are only a stop-gap arrangement the original intention being giving opportunities to the artists who cancel their concerts. It cannot be denied that every artist on stage is talented and stage worthy which is true. So the Hypothesis is “ let’s assume ceteris paribus about the quality of the artistsâ€
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rasamrudam
- Posts: 5
- Joined: 11 Dec 2007, 12:32
As the discussions are going off tangent without fully appreciating the facts and since it is getting too personal about the artists in general and the particular day's performance is being questioned in a different manner not at all related to the original review, this rasika would like to sign off completely in the interest of everybody concerned. I would not respond anymore to this particular thread. GV is one of the innumerable persons whom this rasika has listened to and I have nothing against her personally. Any further mudslinging by anybody could make me an uncalled for villan. thanks for the patronage. wishing all concerned a wonderful season ahead. Henceforth I am not responsible for anymore issues in this thread, bye
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apasruthi
- Posts: 68
- Joined: 08 Jan 2007, 14:12
Dear Rasamrudam:
I completely agree with your views and your reviews about GV, and respect your sentiments expressed in the last post of yours. The point is not about any mudslinging on any aritist but to give one's free and fair opinion.
As far as my view is concerned, I've not attended GV's this particular concert, but had attended many of her earlier ones, where I've observed her making glaring mistakes in sahitya (forgetting the lyrics or wronglyrendering), laya and even in sruthi. Her "laya bodha" has to improve a lot, if she desrves to be accompanied by eminent percussionists. Her bhAva is to say the least is artificial, many a times . She has promise and talent, no doubt, but is probably too immature to handle the kind of time slot in MA or stature that she's being imposed upon, mostly due to hype about her concerts that are created by media and rasikas. I wonder who decided to give her this slot in MA(looks like MA is more carried away by her growing popularity, than anything else). She needs to develop into a complete artist, before she deserves her worthy place amongst the all time greats, else she can fade away like many other "fads"..
I'm posting this in all admiration to her music, and not to belittle her, but to see her grow into a stalwart. I read rasamrudam's review and comment in that light.
In today's media frenzy where even negative attention bodes well for commercial reasons, I don't intend to give any more publicity to her, through further comments on this.
Hope if she reads this, she takes it in the right spirit and move ahead.
Apasruthi
I completely agree with your views and your reviews about GV, and respect your sentiments expressed in the last post of yours. The point is not about any mudslinging on any aritist but to give one's free and fair opinion.
As far as my view is concerned, I've not attended GV's this particular concert, but had attended many of her earlier ones, where I've observed her making glaring mistakes in sahitya (forgetting the lyrics or wronglyrendering), laya and even in sruthi. Her "laya bodha" has to improve a lot, if she desrves to be accompanied by eminent percussionists. Her bhAva is to say the least is artificial, many a times . She has promise and talent, no doubt, but is probably too immature to handle the kind of time slot in MA or stature that she's being imposed upon, mostly due to hype about her concerts that are created by media and rasikas. I wonder who decided to give her this slot in MA(looks like MA is more carried away by her growing popularity, than anything else). She needs to develop into a complete artist, before she deserves her worthy place amongst the all time greats, else she can fade away like many other "fads"..
I'm posting this in all admiration to her music, and not to belittle her, but to see her grow into a stalwart. I read rasamrudam's review and comment in that light.
In today's media frenzy where even negative attention bodes well for commercial reasons, I don't intend to give any more publicity to her, through further comments on this.
Hope if she reads this, she takes it in the right spirit and move ahead.
Apasruthi
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Rengarajan
- Posts: 109
- Joined: 17 Dec 2006, 15:00
I was reading the various views expressed about GV's concert at MA.
The fact that the artists before being selected to perform undergoes years of training and practice sessions and 'acceptability tests' before being selected to perform in institutions, should not be lost sight off . With all that, the performance of any artist in any concert depends on various factors - psychological ,physical, environmental etc - on the particular day of performance which results in the performance being rated high or low; this rating is relevant only for the particular concert. I am of the considered view that the music should be the only consideration for review or sharing one's experience and not the factors such as one's dress, jewellery,looks etc which are totally irrelevant from the point of review. How can anybody comment on artificiality or otherwise of rendering, unless one knows the nature of a person closely - It could be only impressionistic view of a particular person and the impression of others could be different . Similarly, the comparison of artists is not in good taste. Readers may be aware of the bad taste generated on the two reviews appeared in the PRESS in the last season - (1)comparing the performance of two artists in a single review and (2) an artist who was singled out for review of of every single item rendered.
I am also of the view that we should not question the wisdom of selectors who have long years of experience in the matter. Further, there could be strong and valid arguments both "for and against" about the selections.
If anybody feels strongly about selections, why not the members seriously participate on the topic 'mechants of music" in 'General Discussions'
I wish that the site meant for uninfomed Rasikas like me should not be taken advantage of, by interested persons for belittling somebody whom they do not like for reasons other than music.
The fact that the artists before being selected to perform undergoes years of training and practice sessions and 'acceptability tests' before being selected to perform in institutions, should not be lost sight off . With all that, the performance of any artist in any concert depends on various factors - psychological ,physical, environmental etc - on the particular day of performance which results in the performance being rated high or low; this rating is relevant only for the particular concert. I am of the considered view that the music should be the only consideration for review or sharing one's experience and not the factors such as one's dress, jewellery,looks etc which are totally irrelevant from the point of review. How can anybody comment on artificiality or otherwise of rendering, unless one knows the nature of a person closely - It could be only impressionistic view of a particular person and the impression of others could be different . Similarly, the comparison of artists is not in good taste. Readers may be aware of the bad taste generated on the two reviews appeared in the PRESS in the last season - (1)comparing the performance of two artists in a single review and (2) an artist who was singled out for review of of every single item rendered.
I am also of the view that we should not question the wisdom of selectors who have long years of experience in the matter. Further, there could be strong and valid arguments both "for and against" about the selections.
If anybody feels strongly about selections, why not the members seriously participate on the topic 'mechants of music" in 'General Discussions'
I wish that the site meant for uninfomed Rasikas like me should not be taken advantage of, by interested persons for belittling somebody whom they do not like for reasons other than music.
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shripathi_g
- Posts: 359
- Joined: 30 Mar 2005, 08:25
"Hope if she reads this, she takes it in the right spirit and move ahead."
Not sure why she should bother about comments from some random guy on the internet.
I've nothing for or against GV but I just want to point out that people should remember that they are posting anonymously and must ask themselves if they would say the same thing in person. Also, readers should take a level-headed approach while reacting to comments. It's easy to get into misunderstandings since it's difficult to convey emotion. It's also an easy medium for jobless people to post tripe.
Not sure why she should bother about comments from some random guy on the internet.
I've nothing for or against GV but I just want to point out that people should remember that they are posting anonymously and must ask themselves if they would say the same thing in person. Also, readers should take a level-headed approach while reacting to comments. It's easy to get into misunderstandings since it's difficult to convey emotion. It's also an easy medium for jobless people to post tripe.
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grsastrigal
- Posts: 884
- Joined: 27 Dec 2006, 10:52
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Rengarajan
- Posts: 109
- Joined: 17 Dec 2006, 15:00
Thanks GRS. I have equally strong reservation on many things and hence I have posted the topic titled "Commerce in carnatic music and factors governing/influencing the same" for general discussion. The review column should not be used to express our reservations, while reviewing any particular individual's concert, except for its content . Further, I was not happy with the word 'artificial bhava', since bhava in music is essentially through music and not in facial expressions.grsastrigal wrote:Rengarajan- I have a strong feeling of "biased selectio" in MA schedule. Where is "mechants of musinc" in General Discussion ? I am unable to find so that I can contribute some... Thks.
Further, this forum for review should essentially be used to bring to the notice of rasikas the talented musicians about whom the major Sabhas and press are 'bissfully' unaware
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Vocalist
- Posts: 1030
- Joined: 19 Feb 2006, 18:53
I don't think it refers to facial expressions purely, well at least if and when I use the term. The term is something that one might use even on a sound track after hearing what is rendered (without seeing the artist's facial expressions). Trying to show your breathing is controlled, when in reality it isn't because your heart is racing and your mind is somewhere else, or focusing excessively on whether your shruthi is correct, rather than on singing the meaning of the song like you truely feel it...is an example, I think.Rengarajan wrote:I was not happy with the word 'artificial bhava', since bhava in music is essentially through music and not in facial expressions.
Last edited by Vocalist on 23 Dec 2007, 16:31, edited 1 time in total.
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Rengarajan
- Posts: 109
- Joined: 17 Dec 2006, 15:00
I consider that it is diffecult to perceive 'artificiality in Bhava' in listening. Anyhow, it is individual's experience. The experience of the reviewer of her concert at Parthasarathi Sabha seems to be different. Let us close the matter with thisVocalist wrote:I don't think it refers to facial expressions purely, well at least if and when I use the term. The term is something that one might use even on a sound track after hearing what is rendered (without seeing the artist's facial expressions). Trying to show your breathing is controlled, when in reality it isn't because your heart is racing and your mind is somewhere else, or focusing excessively on whether your shruthi is correct, rather than on singing the meaning of the song like you truely feel it...is an example, I think.Rengarajan wrote:I was not happy with the word 'artificial bhava', since bhava in music is essentially through music and not in facial expressions.